Seduction

Донжуанизм – особый для амурно-эротических отношений тип сознания, ценностных установок, характера поведения. В нем обобщенно отражен образ Дон Жуана, представленный в известной комедии Ж.Б. Мольера «Дон Жуан, или Каменный пир», а также во множестве других произведений искусства. Этот образ внутренне раздвоен и по-разному трактуется в истории культуры. С одной стороны, Дон Жуан известен как галантный поклонник, любвеобильный ухажер, виртуоз наслаждений, дамский угодник, и потому оправданно восприятие Дон Жуана в соотнесении с искусством любви. С другой стороны, Дон Жуан воспринимается как повеса, соблазнитель, разрушитель женских сердец, гроза мужей, и тогда Дон Жуан символизирует своеволие и распутство. Две стороны донжуанистского образа развиваются в разных символических контекстах: первый – в амурно-эротическом, второй – в морально-этическом. Особенность амурно-эротических коннотаций донжуанизма в том, что они актуализируются именно в связи с куртуазной галантностью, женским ожиданием рыцаря, романтичного кавалера, замечательного любовника. Но донжуанизм не выдерживает проверки с позиций философии и мудрости любви, в которой на первый план в отношениях выступают стремление к целостности и совершенству, дарение и преданность. Однако и философия любви оказывается в непростой ситуации перед лицом донжуанизма: по крайней мере одной своей стороной донжуанизм релевантен тому пониманию любви, возможно наиболее популярному у обычных людей, согласно которому любовь – это именно романтически-эротические переживания, отражающие чувственное вожделение, а любовное единение понимается определенно в сексуальном смысле – как соитие.

Don Juanism is a peculiar for amorous-erotic relations type of consciousness, value attitudes, and mode of behavior. This idea reflects a generalized character of Don Juan, presented in a popular comedy play, Don Juan or The Feast with the Statue, by J.-B. Molière as well as in various other works of art. This figure is internally dual and has different interpretations in the history of culture. On the one hand, Don Juan is famous as a gallant adorer, affectionate follower, virtuoso of pleasures, dangler after women and hence the image of Don Juan in regard to the art of loving is clear and justified. On the other hand, Don Juan is perceived as a kind of playboy, seducer, ladies’ hearts slayer and then Don Juan is considered as a symbol of arbitrariness and profligacy. Two facets of the Don Juan image have been developed in different symbolic contexts: the first one – in an amorous-erotic context and the second on – within the moral point of view. Amorous-erotic connotations of Don Juanism are specific for their relevance to frivolous gallantry, womens’ anticipation of a knight, romantic cavalier, outstanding lover. However, Don Juanism doesn’t hold up philosophy and wisdom of love with their priorities of wholeness and excellence in relations, mutual self-giving and devotion. In the meantime, the philosophy of love is challenged by Don Juanism as well for at least one of its facets it is relevant to that understanding of love, probably almost popular among common people, according to which love holds namely romantic-erotic feelings, expressing lust and sensual desire, while unity in love is understood in particularly sexual meaning – just as coition

Literator 36(2), 2015, Art. #1193

Henri Pierre Roché (1879–1959), the author of Jules et Jim, has been called a general introducer, an exemplary amateur, a collector of women and art and one of the most prolific diarists and active lovers in recorded history. Author of a collection of vignettes about Don Juan, Roché was fascinated with the figure of the seducer and in his twenties planned to devote his life
to the creation of a body of work which would examine moral, intellectual, social and sexual relations between women and men. To this end, he would transform his life into a laboratory
where real-life experiences would become the main source of reference. Roché’s diary spans sixty years and abounds in tales of seduction. However, the most intense and captivating
intrigue of seduction and betrayal in his diary, is his relationship with Helen Hessel. At the start of their affair, Roché suggested that she too should keep a diary of the maelstrom of passion into which they were plunged. Written in French, German and English, Helen Hessel’s diary captures the drama of seduction and functions on several levels: realistic, visionary, absorbed in her thoughts and emotions and yet critical of herself and others. A juxtaposed reading of the two diaries generates a fascinatingly dense texture, revealing the mechanisms
of seduction at play. The counterpoint created by these two interdependent voices becomes ever more complex as one becomes aware of the intertextual references that contribute to the emerging polyphony of recorded life and love.

Personal relations are always a big issue between individuals deriving from different cultural backgrounds. Even more, flirting is a really intrigue subject, as it is a shared need among all humans independently of their way of thinking, nationality, or culture. Although, it is common, flirting strikes at the very deep of our nature, our feelings and, thus, it is a sensitive issue. It contains many aspects, such as how we promote ourselves, how we express admiration, what we think as attractive, well-being and self-esteem and how others perceive us. The aim of this report is to investigate the flirting behavior of people, the way that people act in order to seduce. The hypothesis behind the project is that even though there are some universal signals of attractiveness and actions of carrying interest, a combination of evolutionary chosen factors and socio-cultural regulations enhances and degrades behavioural elements of people restricting their activity. The research questions that support the hypothesis are:

-Why do people engage in flirting interactions?
-How do people act in flirtatious contexts?
-Are there any common strategies and courting signals?
-How does the seducing situations be influenced by the cultural background and sex

The conducted interviews are casting light in different sides of the central research questions about the flirting interactions in humans. By answering them I will try to get information about the way people seduce, what they feel as important, what they are attracted by, which features they get as a call for initiation. Another crucial aspect and a further step into the topic is whether a variation in style, practices and signs may be construed as offensive or misunderstanding. In other words, whether and how intercultural conflicts might emerge within the social settings deriving from the different ways and perspectives.

Ok, Children of the Corn was true classic from the days when Stephen King was the King of horror. However its true glory lies in marking an era where the Green Revolution has shown its true face as the unlikely Terminator. High-yield strains were developed and seeded everywhere around the world, supplanting most of the old gene pools and agrarian biodiversity since Neolithic Revolution to kingdom come. Especially so in the third or the second world, the Communist East being very much into the same ‘let’s have mutant, pest-resistant, gigantic, super-sweet corn’ wave. In fact, we could argue that much of the Eastern ‘collectivization’ was a more or less a camouflaged fertility cult celebrating chthonian energies, renewal and miraculous hybrids.

This article explores the worldview of the ''seduction community'' operating within the homosocial spaces of North-American ''Guyland.'' This community provides seduction workshops catering mainly to men stereotyped as nerds who are situated at the bottom of the social-sexual hierarchy despite their privileged position in the postindustrial workplace. Based on content analysis of the community's self-help literature, the article argues that the community offers a ''geeky'' solution to the dilemmas of young masculinity and fosters a pickup model based on gaming logic. Courtship is construed as a standardized, rule-governed social skill and is characterized by hyperconsumerism and objectification of women. As part of his self-empowerment, the pickup artist adopts an avatar persona and employs teasing and make-believe techniques. As trainees aim to accomplish control over self and others in compliance with hegemonic masculinity, the strict reliance on gaming logic culminates in the dehumanization of all parties and suspends moral considerations.

Eroticism has been the long practices in seduction. Various well known seductress have use eroticism in seduction which involves the use of eye, voice, body movement, chant, enchantment, and incense, oil and wax, paraffin, petroleum jelly, perfume, acts, letters, images and symbols.

Como Conquistar Uma Amiga Passo-A-Passo. Esta é uma das perguntas mais recorrentes nos e-mails e comentários que recebo todos os dias. O tempo todo há um cara interessado em saber como conquistar uma amiga. Descubra agora 5 dicas poderosas para conquistá-la sem perder a amizade. E se você se identificar com alguma das fotos publicadas neste artigo é porque muito provavelmente você está na Friend zone. A maioria dos homens já ouviu a famosa frase: " vamos ser apenas amigos ". Quando a mulher diz que quer ser somente sua amiga, ela quer dizer nas entrelinhas que não sente qualquer atração por você, ou seja: não te vê como um homem para se relacionar. O problema não está nela e nem em você, significa apenas que você se comporta como um amigo, o que é muito frustrante principalmente quando se está apaixonado. Mas porque isso ocorre? Como Pegar Uma Amiga: Entenda O Processo Da Sedução Antes de seguir em frente e para que aprenda Como Pegar Uma Amiga eu quero que você entenda três questões importantes sobre as mulheres: 1. A atração pelo homem ocorre através de uma comunicação sexual a nível inconsciente, ou seja, ela não escolhe por quem se sentir atraída. 2. Um homem desperta atração na mulher muito mais pelas suas atitudes do que por palavras, por isso é que você deve aprender a agir da forma correta. 3. Compreender o processo da conquista fará toda a diferença no relacionamento com sua amiga ou com qualquer outra mulher, isso é garantido! O processo da conquista ocorre em 3 fases, que são: Fase da Atração Fase do Conforto Fase da Sedução A fase da atração é aquela que ocorre a partir do primeiro contato quando você se aproxima e puxa conversa. É a sua abordagem e a forma como você se comporta neste momento que vai gerar nela o interesse por você. Na fase seguinte, você deve gerar conforto () estabelecendo um nível maior de conexão – inclusive emocional-, com ela. O problema é que, é nesta etapa que a maioria dos caras estaciona. São aqueles que conseguem passar pela fase do conforto os que geralmente seduzem e pegam mulheres. Veja mais em: http://segredosdaseducao.net/como-pegar-uma-mulher

This article is about the cultural heritage of a men’s movement,
called PickUp, which gained momentum in the United States
during the 1990s. It finds that the seduction techniques they use
can be traced back to historical seducers. The discourse of
seduction is reconstructed by identifying four stages in seduction
culture from early modernity to the present. Thus contextualized,
the article interpretatively examines three cases of three famous
seducers: Don Juan, Giacomo Casanova, and Søren Kierkegaard,
while highlighting their changing masculinities as connected to
class position and affectual control. Providing insights into
particular social constellations and emotional dynamics of
seduction, the study finds a number of ‘social tropes’ that play a
pivotal role in all the scenes portrayed. Moreover, they have
strong structural equivalencies within the actively applied means
of seduction that the PickUp-Artist’s methodology prescribes,
which is outlined in several advice books that are part of the
contemporary self-help discourse. The conclusion comes back to
seduction’s complicated history, the theory of social tropes, and
problematizes the changing faces of masculinity within them.

"Abstract:
Ovid's "Ars Amatoria" is meant to offer a true recantation of amor, a palinode of love that includes an apology of poetry. Palinode and apology have become necessary and urgent, for Ovid, for two reasons, which offer a double challenge.
The first challenge comes from the love poetry by his contemporaries. Elegy is lament, protest, recrimination, regret. Occasionally praise, it morphs, more
often, into blame. Supposedly intended to convey erotic passion and impatience for pleasure, it turns into an intermittent profession of pain.
The second challenge comes from the carmina of Lucretius. In those carmina,both love and poetry are crucial, and yet highly problematical, because both, poetry and love, undermine the project of an unrelenting argument on behalf of reason. Passion and fiction are a threat. The philosophical effect of such a critique is immense and terrifying.

I will set out to outline the discord between anti-erotic ratio and ars amatoria. I will then be in a position to provide a panoramic view of Ovid’s work. Ovid’s poetry, I will argue, is philosophy, the musical thinking of a lover of myths, a philómythos who, as Aristotle would put it, was a sort of philosopher, philósophos."

… this is a book for the ladies who want to be women;
the beautiful ladies who want to be sexy women; and
the sexy women who do not know they are sexy.
the sexy woman comes in different sizes, but her style is sexy;
her moves are sexy-moves; she has seventy-7 moves;
the seventy-7 of a sexy woman.

It is hard to imagine tourism without the creative use of seductive as well as restrictive imaginaries about peoples and places. This article presents a conceptual framework for the study of tourism imaginaries and their diffusion. Where do such imaginaries originate, how and why are they circulated across the globe, and what kind of impact do they have on people’s lives? I discuss the multiple links between tourism and imagination, illustrating the overlapping but conflicting ways in which imaginings and fantasies drive tourists and tourism service providers alike. By applying this conceptual approach to international tourism in developing countries, I illustrate how the critical analysis of imaginaries offers a powerful deconstruction device of ideological, political, and sociocultural stereotypes and cliche´s.

"Dire le vrai et bien manier l'arc et les flèches", - voilà qui tout ensemble paraissait cher et pesant à ce peuple d'où vient mon nom - le nom qui m'est ensemble cher et pesant. (Nietzsche, Zarathoustra, "De mille et une fins")

L'arc et les flèches dans l'oeuvre de Nietzsche comme métaphore de la guerre, mais aussi de l'amour, et les deux à la fois : symbole de séduction.
Mais aussi comme métaphore de la métaphore elle-même, qui comprend la vie dans sa tension redoublée.
Et comme métaphore de l'éternel retour.

After working as a personal assistant during the Second World War to John Godfrey, the Director of Naval Intelligence of the Royal Navy, Ian Fleming designed James Bond as a prominent fictional British agent from the novel Casino Royale (1953) onward. Bond completes the assignments while simultaneously enjoying the bachelor lifestyle and this has always intrigued many readers and spectators. His life is also enriched by consumerism and more essentially, effortless seduction to limitless sex. Meanwhile his sexual encounters stress his freedom from commitment as well as his embodied British national power, his interactions with most of the Bond Girls since the first Bond movie Dr No (1962) however lack mutual comfort and connection. My dissertation analyses four generations of James Bond movies: Thunderball (1965), Moonraker (1979), GoldenEye (1995) and Casino Royale (2006). These four sources substantiate that the legendary womaniser Bond is instead very much incapable of seducing most of his Bond Girls. As each of the Girl provides a certain extent of intelligence leading to the antagonists, the deficient Bondian seduction therefore hinders both his capacity in national security maintenance as well as his possibility of relishing splendid sexual life.

Abstract
This article examines gender and cultural sense-making in relation to perfumes
and their packaging. Gendered meanings of seduction, choice, consumption and
taste are brought to the fore with the use of go-along interviews with consumers in
perfume stores. Meeting luxury packages in this feminized environment made the
interviewed women speak of bottles as objects to fall in love with and they described
packages as the active part in an act of seduction where they were expecting
packages to persuade them into consumption. The interviewed men on the
other hand portrayed themselves as active choice-makers and stressed that they
were always in control and not seduced by packaging. However, while their ways
of explaining their relationship with packaging on the surface seems to confirm
cultural generalizations in relation to gender and seduction, the article argues that
letting oneself be seduced is no less active than seducing. Based on a combination
of actor network theories and theories of gender performativity the article points
to the agency of packaging for constructions of gender and understands the interviewees
as equally animated by the flows of passion which guide their actions.
Keywords: Consumption, perfume, seduction, packaging, gender, shop-along,
agency.

A ghost is haunting the eighteenth-century novel – the ghost of Lucretia, the chaste Roman matron who killed herself after being raped by Tarquinius and whose death ushered in the birth of the Roman Republic. With the rise of the epistolary novel in the eighteenth century, many great writers entered the scene to re-write the story of Lucretia, and new Lucretia stories emerged – among which Clarissa (1748) by the English novelist Samuel Richardson and Julie (1761) by the Genevan philosopher and writer Jean-Jacques Rousseau are two great examples. Both novels are attempts to rehabilitate the virtue of a supposedly “fallen” woman: despite their “tarnished virtue,” the heroines Clarissa and Julie both provide new models for feminine virtue and female heroism. However, the question remains: under what value system are Clarissa and Julie deemed as “fallen” women, and who is it to determine whether they are “fallen” or not? In this project, I will show how Clarissa and Julie are not only physically seduced by men but also ideologically seduced by an aristocratic patriarchy that is perpetuated not just by men but also by women – and whether these young ladies have the free will to consent or not consent to this multi-layered seduction.

In my first essay for a series commissioned by ANIMAL NY, I outline how trying to find women who've slept with infamous pick up artist Roosh V to create a platform for their experience became an opportunity to interview the "the web's most infamous misogynist" himself.

El artículo caracteriza las performances de seducciónmasculinaen el marco de una academia,ubicadaen la Ciudad de Buenos Aires duranteel año 2019 (marzo-diciembre),que promueve una pedagogía sobre el cortejo heterosexual basadaen los libros The game,Penetrating the secret society of pickup artista(2006)y The Mystery Method: How to Get Beautiful Women Into Bed(2007) que han tenido impacto en la denominada “comunidad de seducción”. Mediante un abordaje cualitativo se empleó el método etnográfico,la teoría fundamentada y la observación participante como técnica de investigaciónprincipal. Se halló que la institución estudiada constituye performances de seducción que establecen vínculos sexo afectivos de dominación de acuerdo con una concepción sobre el género asentada en la masculinidad hegemónica

This chapter explores consciously manipulated sexual ‘consent’ from legal, psychological, and philosophical perspectives. As a prism through which to explore these issues, the paper looks at the lucrative ‘seduction industry’, with a particular focus on courses which purport to teach single men how to ‘programme’ women in the pursuit of sexual ‘consent’. Sitting between the extremes of consent by hypnosis, and consent by charm, we ask whether (and how) the law should engage with such activity, and what, if anything, this phenomenon tells us about the nature of consent. We analyse techniques of programmed consent over three parts. In Part A we discuss attacks on the mind in general terms, exploring the extent to which the law protects against mental manipulations. In Part B we focus on the seduction industry, and the detail of the claims made about their techniques. Finally, in Part C, we discuss how the current law (in the sexual context at least) could be used to protect victims’ mental integrity, whether the techniques attempted for programming consent are successful or not.

L’influence sociale (ou pression sociale) est l'influence exercée par un individu ou un groupe sur chacun de ses membres, dont le résultat est d'imposer des normes dominantes en matière d'attitude et de comportement. Cette influence entraîne la modification des comportements, attitudes, croyances, opinions ou sentiments d'un individu ou d'un groupe suite au contact avec un autre individu ou groupe.

Comment alors parvenir à penser par soi-même et faire ce qu'on a VRAIMENT envie de faire ?

Artikel ini mencoba menarik apresiasi terhadap teori dan filosofi Jean Baudrillard keluar dari kubangan nihilisme naïf yang merebak di kalangan penstudi dan pembaca Baudrillard, terutama di Indonesia. Repetisi melelahkan akan konsep-konsep seperti simulakra, simulasi dan hiper-realitas nampaknya telah mendiskreditkan konsep Baudrillard yang lain – yaitu reversibilitas, misalnya – yang menurut penulis memiliki potensi perlawanan terhadap ketiga konsep sebelumnya. Artikel ini mencoba mengangkat konsep reversibilitas, dan bagaimana ia berimplikasi bagi pemahaman kita baik tentang semesta realitas maupun filsafat Baudrillard sendiri. Kesemuanya ini demi menyudahi dan melawan euforia selebrasi pseudo-liberal posmodernisme, atau yang disebut Baudrillard sebagai orgy. Ya, posmodernitas adalah sebuah orgy.

A longstanding debate within feminism has been whether sex work is empowering or ultimately disempowering for those who engage in it. This essay seeks to contextualize discourses about seduction, prostitution, and sexual tourism as they relate to Brazil and to make a preliminary assessment as to the ways in which the act of seduction might be empowering for Brazil’s sex workers. Based on ethnographic research and borrowing from literary theory, tourism theory, and interdisciplinary theories of power and agency, I argue that seduction has the potential to be empowering for Brazilian prostitutes who can capitalize on the racial and ethnic stereotypes of Brazilian women. Nevertheless, I maintain that although seduction may be empowering for those who utilize it, it cannot hope to be emancipatory for womankind. I also make a secondary argument that this debate can be interpreted as a conceptual dichotomy of prostitutes as seductresses and prostitutes as fatally seduced.

Prompted by what is seen as central to all concepts involved in what teaching is, this essay attempts to explore the power relationship between student and teacher.  Teaching is traditionally seen as the knowledgeable, as teacher, teaching the learners, as students.  There are innumerable aspects that make up what teaching is considered to be and how it comes about.  To name but a few, knowledge transfer, opening of the mind, communication, emancipation, creating valuable members of society, reproducing the status and so on. While some of these goals or attributes of teaching may be complementary, others may be considered antithetical.  Arguably, many aspects of teaching may be considered equally relevant to assisting in looking for what “a sense of teaching” is, however, an exploration of the power relationship between teacher and student, highlighting the centrality of the relationship to teaching and learning, shall be the focus of this essay.  Some of the perspectives drawn shall be taken from interpretations of Sidorkin, Adorno, Rancière, Dewey, Wittgenstein, Kant, Heidegger, Castoriadis, and Lee.

Keywords: Relationships, power, seduction, truth, education, teaching, learning, love.
“If you want to build a ship, don't drum up people together to collect wood and don't assign them tasks and work, but rather teach them to long for the endless immensity of the sea.”
― Antoine de Saint-Exupéry (1984)

In diesem Essay fasse ich zusammen, welche Passage-Riten bei dem Übergang von Ernst zu Spiel im Live Action Role Play (LARP) vorgenommen werden, und zwar sowohl bei dem erstmaligen Betreten des Spielplatzes und dem Finden der eigenen Position des einzelnen Spielers darauf, als auch bei dem Eröffnen und Herstellen des Spielplatzes in der konkreten Spielsituation durch die Spielgruppe.
Hierzu beschreibe ich die sinnlich-ästhetischen Prozesse des Erlebens, das Herstellen von Narrativen in Form von Storytelling und dem Plot und die soziale Interaktion zwischen den Spielern, die vom ersten Kontakt zum Feld an bis zum konkreten Spiel und darüber hinaus in der Herausbildung eines Charakters das LARP konfiguriert.
Worauf ich insbesondere Bezug nehmen werde, ist die Frage nach dem Realen in der Gegenüberstellung der Kategorien „Ernst“ und „Spiel“, oder im LARP-Genre Outtime und Intime. Ich werde herausarbeiten, wie IT als das andere Reale begriffen und im Spiel sinnlich-ästhetisch erlebbar wird. Abschließend eröffne ich einen Diskussionsraum, in dem ich Hypothesen darlege, welche Konsequenzen sich aus den Beobachtungen zum Simulations-Spiel für soziales Handeln und insbesondere Herrschaftsansprüche und Machtgefüge ergeben.

What makes readers, particularly critics, revisit Poe? One of the objections that can be brought against most psychoanalytic interpretations of his life or work is its omission of “the why.” Why write about Poe? What compels us to return to an author already surrounded by, to use Susan Sontag’s words, “thick encrustations” of criticism and theory? There seems to be an undefined “something,” a certain element “X” in Poe that irresistibly attracts (our) critical commentary. Designating this elusive quality “X” as textual “seduction,” the following article attempts, in a sense, to define the undefinable: that is, to identify and describe some of the Poe-esque characteristics that continue to keep readers and critics glued to his work. Drawing principally from Jacques Lacan’s model of transference, Roland Barthes’ “erotics of reading” and Pierre Bayard’s theory of “applied literature,” this paper posits that some of Poe’s strategies of literary seduction include, on the one hand, anticipated textual effects that operate similarly to transference in their double fulfillment of the analyst’s role of S.s.S and S.s.R and, on the other, carefully constructed thematic incongruities that result in an ultimate “undecidability” of meaning.